#marque design made in France

[nedgis]

Jeu concours : tentez de gagner une applique éco-responsable Mina par Warren&Laetitia !

Amateurs de design éco-responsable et de déco colorée, tentez votre chance avec notre nouveau jeu concours Nedgis en partenariat avec @catherinezarrabian !  Eco-conçue, la magnifique applique murale Mina est fabriquée avec soin à partir de matériaux recyclés et recyclables. Une pièce qui retranscrit l’ADN unique du Studio de design Warren&Laetitia : esthétisme coloré et engagement…

[chic-a-gigot]

La Mode nationale, no. 3, 22 janvier 1898, Paris. Notre patron découpé (Grandeur naturelle). Matinée. Bibliothèque nationale de France

Explications du patron découpé:

Le modèle que nous donnons est une matinée ajustée derrière, droite devant; l'ampleur de la taille est serrée par une patte en tissu pareil au vêtement, un ruban ou une cordelière, la basque ondule légèrement dans le dos. (The matinée pattern we offer is fitted behind, straight ahead; the fullness of the waist is tightened by a tab in fabric similar to the garment, a ribbon or a cord, the peplum undulates slightly in the back.)

Cette matinée se fera en pilou à jolis dessins, en flanelle, en molleton, ou en tissu des Pyrénées; elle se doublera de finette. (This matinée will be spent in pilou with pretty designs, in flannel, in fleece, or in Pyrenees fabric; it will double as a finette.)

Ce patron est composé de 8 morceaux (This pattern is made up of 8 pieces):

No. 1. — Le dos, avec couture au milieu. (The back, with seam in the middle.)

No. 2. — Côté du dos, qui se raccorde au dos par E F G. (Side of the back, which connects to the back by E F G.)

No. 3. — Côté du devant, qui se raccorde au côté du dos par H I J. (Front side, which connects to the back side by H I J.)

No. 4. — Devant, qui se raccorde au côté du devant par K L M et à l'épaulette du dos par C D. (Front, which connects to the side of the front by K L M and to the epaulet of the back by C D.)

No. 5. — Patte, se raccorde à la taille devant par L N. (Tab, connects to the waist in front by L N.)

No. 6. — Col, se taille double sans couture, un pointillé marque le pied du col; il se raccorde au devant à A: au dos à B. (Collar, cut double without seam, a dotted line marks the base of the collar; it connects at the front to A: at the back to B.)

No. 7. — Dessous de manche. (Under the sleeve.)

No. 8. — Dessus de manche qui se raccorde au dessous par O P Q R. (Top of handle which connects to the bottom by O P Q R.)

Cette manche se monte à l'emmanchure devant à O. (This sleeve is mounted at the front armhole at O.)

1 m. 80 de tissu en 120 suffisent pour faire cette matinée simple et pratique. (1m. 80 of 120 fabric is enough to make this morning simple and practical.)

Avoir toujours soin de placer les morceaux du patron sur l'étoffe dans le même sens qu'ils sont posés sur le dessin. (Always take care to place the pattern pieces on the fabric in the same direction as they are placed on the drawing.)

[lepreuxchevalier]

An illustration of a knight I designed to feature the colours and coat of arms I designed for Maison Von Vlaanderen, a great house of feudal aristocracy based in “Le Royaume d’Aquitaine” or “The Kingdom of Aquitaine” in my low-fantasy world. Both this illustration and it’s associated faction iconography were designed for a low-fantasy setting of my original conception with technology and material culture roughly equivalent to the late medieval and renaissance periods of European history. Where formations of heavily armoured and mounted knights sporting suits of full plate armour or heavy coats of chainmail fight alongside armies of professional pikemen and matchlock musketeers. Where medieval-style stone castles are gradually being outsourced in favour of both lavish country estates and devoted military fortifications, or “bastions,” due to the technological advancements being made in gunpowder-based siege artillery, and where fledgling nation-states in the form of kingdoms and empires look beyond the great oceans and the frontiers of the known world in search of even greater wealth and territory. In context to the canon lore of my low-fantasy world, “Maison Von Vlaanderen”  or “House Von Vlaanderen” are the hereditary, dynastic Counts of Flandres, one of the constituent duchies and counties of “Le Royaume d’Aquitaine,” or “The Kingdom of Aquitaine.” A fantasy kingdom loosely inspired by The Kingdom of France during the medieval and “Ancien Regime” periods of French and European history, while also taking fictional sources of inspiration from The Kingdom of Bretonnia in Warhammer Fantasy and The Kingdom of The Reach in Game of Thrones. In addition to being the hereditary, dynastic Counts of Flandres, the reigning, dynastic heads of Maison Von Vlaanderen are also the official, hereditary Viceroys to “Nouvelle Aquitaine” or “New Aquitaine,” the principal, overseas colonial possession of Le Royaume d’Aquitaine under Maison Williamson as the longtime, reigning, dynastic house of Aquitanian Monarchs. Amongst The Kingdom of Aquitaine’s constituent dukes and counts born to “the great houses” of feudal nobility and aristocracy, it is the Counts of Flandres from House Von Vlaanderen who have grown extortionately wealthy from both their ancient, maritime trade privileges forged with past Aquitanian Monarchs from Maison Williamson, as well as their letters of marque officially granting them an exclusive monopoly over trade in Nouvelle Aquitaine as it’s hereditary “Viceroys’ or “Colonial Governors.” The dynastic heads of Maison Von Vlaanderen as the hereditary Counts of Flandres have always been the single wealthiest feudal, aristocratic magnates in Le Royaume d’Aquitaine after the Aquitanian monarchs from Maison Williamson themselves. But with the letters of marque recently granted to them by the Aquitanian monarchy, has their already outrageous fortunes only grown exponentially with their exclusive monopoly over the lucrative and profitable trade facilitated in Nouvelle Aquitaine. The fabulous wealth of Maison Von Vlaanderen as the hereditary Counts of Flandres and The Viceroys to Nouvelle Aquitaine has only attracted both the concern and the chagrin, in equal measure, from all the other constituent great houses of Aquitanian nobles and aristocrats, who have collectively petitioned to the Aquitanian monarchs of Maison Williamson to take on protectionist measures to curb the exorbitant profits generated by Maison Von Vlaanderen as the hereditary Viceroys to Nouvelle Aquitaine. In an effort to simultaneously relieve the growing concerns of Le Royaume d’Aquitaine’s noble and aristocratic princeps without permanently damaging his feudal ties with Maison Von Vlaanderen as the hereditary Counts of Flandres, William XXI as the current head of Maison Williamson and the 64th and reigning Roi d’Aquitaine has significantly reduced all tariffs imposed on Nouvelle Aquitaine’s exclusive exports such as silks, spices, sugar, coffee, chocolate, gems, gold, indigo, and tobacco, while also imposing protectionist policies on all foreign imports to Nouvelle Aquitaine. With this policy of trade “reciprocity,” has Maison Von Vlaanderen as the hereditary viceroys to Nouvelle Aquitaine been inherently discouraged from trading Nouvelle Aquitaine’s exported luxuries with foreign powers while having grown increasingly dependent on imports from Le Royaume d’Aquitaine’s constituent duchies and counties to fuel their colonial ventures. In regards to both the hereditary, dynastic military traditions of Maison Von Vlaanderen, as well the regional military culture of The County of Flandres, Gustave Von Vlaanderen as both the reigning Count of Flandres and the hereditary Viceroy of Nouvelle Aquitaine has pioneered the development of “Les Hommes de Guerre” or “Men of War,” specialized military vessels designed to carry more guns and ammunition than traditional seafaring vessels would, as well as the technological innovation of “the broadside cannon” to maximize the firepower of his new, “specialized” naval vessels. Although not possessing as nearly as venerable, or as prestigious a hereditary, dynastic, naval tradition such as those of Maison Gallois as the hereditary Counts of Poitiers, nor benefitting from a regional, military culture of naval professionalism, discipline, and skill at arms like that of The County of Poitiers based in the southern hemisphere of Le Royaume d’Aquitaine. Gustave Von Vlaanderen is irrefutably one the single, most brilliant military theorists of his age concerning the field of naval warfare and combat. Outside Maison Von Vlaanderen’s and The County of Flandres’ notable naval traditions. The feudal, aristocratic levies raised from The County of Flandres reflect the outrageous wealth, taste, and luxury of Maison Von Vlaanderen as the hereditary Counts of Flandres and the Viceroys of Nouvelle Aquitaine. The aristocratic and noble knights sworn into domestic, military homage to Maison Von Vlaanderen as The Counts of Flandres are notorious for generally sporting either some of the most baroque, gilded suits of full plate armour in all of Aquitaine, or Artificer quality coats of chainmail thickly and richly edged with gilded burnings. Often embellishing over their luxurious and sumptuous armours finely crafted surcoats and tabards made from the most premium and exotic silks imported from Nouvelle Aquitaine itself. While the matchlock musketeers levied from The County of Flanders, itself, are regularly issued richly dyed and elegantly crafted uniforms rivaling the quality and standards of those issued to The Royal Army of The Aquitanian Monarchs themselves. Even the poorest and least experienced pikemen serving the hereditary Counts of Flandres have ready access to chainmail hauberks and plate cuirasses, granting them, on average, superior protection and increased survivability compared to the pike-and-shotte infantry regiments of other feudal, aristocratic levies based in Le Royaume d’Aquitaine.

[catastrophicsynapses]

Callot Soeurs black silk crepe evening dress with bands of Oriental patterned gold lamé, c.1924. Label: "Made in France/Callot Soeurs/Paris/Nouvelle marque Déposé."

Sometimes the most simple design is also the most elegant. Same with ourselves- keep things simple. Don't become bogged down; don't try to do too much or be too much to others. Plan just for today. If it doesn't get done, it doesn't get done. Look at the example of this dress- relaxed, easy to sew, easy to wear; with the style kept simple. It speaks volumes as to an approach for how we should live.

[omagazineparis]

Ces nouvelles boutiques parisiennes à découvrir d’urgence !

Ah Paris… La capitale de la mode et du shopping par excellence. Si vous vouez une véritable addiction au shopping et que vous adorez passer des heures à dénicher LA boutique parfaite, vous êtes au bon endroit ! La rédaction vous a concocté une liste de nouvelles boutiques parisiennes à découvrir absolument. La Samaritaine, une ode au luxe et à la France Vous n’avez pas pu passer à côté de cette information ! Après plus de seize ans de travaux, l’iconique magasin parisien a rouvert ses portes. Avec ses 20 000 mètres carrés d’espace de vente, la Samaritaine est un véritable temple du luxe et de la mode. Ce bâtiment Art Nouveau, symbole parisien depuis plus d’un siècle et demi tourne son regard vers l’avenir. Ce nouveau magasin se met à la pointe des tendances pour redevenir LE lieu parisien incontournable. Allez-vous opter pour une séance de shopping no limit au sein des 600 marques présentes ?  La Samaritaine – 19 rue de la Monnaie – 75001 Paris Neuvième Ciel, la mode pour les mamans, et pas que ! C’est tout récemment que la start-up Neuvième Ciel, qui proposait uniquement de la vente en ligne, a ouvert sa boutique. Située en plein cœur du quartier des Batignolles, la boutique vous permet de découvrir les pièces iconiques Neuvième Ciel mais également Candice, la créatrice emblématique et son armée de petites mains. Son leitmotiv ? Sublimer la femme enceinte. Ajoutant à cela son envie de produire 100% Made In France et de manière responsable, c’est l’endroit parfait si vous attendez un heureux évènement ou même pour faire un cadeau à une amie ! Entre la robe Sénanque et la tunique Pamela, pour quel modèle allez-vous craquer ? Boutique Neuvième Ciel – 53 rue Legendre – 75017 Paris La Milibootik, véritable temple du design En juin dernier, Miliboo ouvre un troisième concept store en plein cœur de la capitale. Cette boutique, située Rue de Rivoli, offre une expérience client unique basée sur la digitalisation. En effet, par le biais de bornes digitales situées dans la surface de vente, il est désormais possible de découvrir l’ensemble des références Miliboo ainsi que de les commander. Organisée sur deux étages, la boutique offre des ambiances éclectiques à ses visiteurs. Au rez-de-chaussée, un mélange de mobilier tendance et design sera présenté tandis qu’à l’étage, des pièces de vie seront repensées. Si vous avez envie de craquer pour une pièce design forte, foncez chez Miliboo ! Concept Store Miliboo – 83 bis Rue de Rivoli – 75001 Paris Clarins Marais, un espace avant-gardiste et responsable Dès l’entrée de la boutique, vous serez transporté dans une quête ludique et sensorielle. Vous pourrez découvrir de nombreuses expériences inédites telles que le test digital du Toucher Professionnel Clarins, l’Atelier de la peau ou encore le Marché Beauté Voyage. Soucieuse de ses engagements, la marque Clarins a conçu la boutique dans une démarche responsable et écologique. Vous laisserez-vous tenter par une expérience shopping inédite ? Boutique Clarins Marais – 45 Rue Vieille du Temple – 75004 Paris Vous connaissez désormais les nouvelles adresses parisiennes pour organiser un week-end shopping. N’hésitez pas à nous faire part de vos adresses coups de cœur et de vos spots cachés, nous serions ravies d’y faire un petit saut ! À lire aussi : Comment ne plus rater le livreur ? Read the full article

[dimensionsvelo]

Kask fête ses 20 ans, le bel âge !

Kask a été créée 2004 par Angelo Gotti et si la marque s'illustre dans le cyclisme depuis ses débuts, elle est aussi présente dans d'autres secteurs d'activités. Avec toujours comme objectif de protéger dans le confort, la performance et l'esthétique ! Lorsqu'Angelo Gotti a créé sa marque, il ne se doutait pas que ses casques auraient cette réussite. Dès 2006, les premiers Kask sont chez Sky en World Tour. En 2008 la marque se lance dans la sécurité au travail. En 2009 c'est dans le domaine du ski alpin que l'on retrouve Kask, et enfin l'équitation complète l'offre en 2015. Pendant ce temps le palmarès sportif (et cycliste) de la marque s'enrichit avec 7 victoires au Tour de France, 3 au Giro d'Italia et 2 à la Vuelta A Espana. Des succès qui démontrent le confort, la performance et la qualité de ses produits. Chris Froome a porté haut les couleurs de Kask avec ses 4 Tours de France , ses 2 Vuelta et son Giro ! Crédit Frédéric Iehl La marque a déposé également plus de 20 brevets, et remporté de nombreux prix internationaux. Kask place la protection de la personne au premier plan, comme en témoigne son test interne WG 11, mais conserve à l'esprit qu'il faut aussi préserver le confort, l'esthétique, la performance et le design ! Bombe d'équitation. Crédit Kask Casque de ski. Crédit Kask Ou de chantier, l'activité de Kask est éclectique ! Crédit Kask Kask ce sont désormais 170 employés, 3 filiales, des produits toujours Made in Italy et une distribution dans plus de 80 pays, avec une filiale aux États-Unis (2010) et en Australie (2014). Et si le logo a changé avec le temps, sa couleur vert lime inimitable est toujours d'actualité. La marque de Chiuduno, dans la province de Bergame commercialise ainsi désormais plus d'1 millions de casques par an. Les 20 ans de Kask seront célébrés les 29 et 30 juin à Daste Bergamo avec nombreuses activités sportives, des conférences, une exposition des casques qui ont le plus marqué l'histoire de Kask et un pop-up store.  Les réactions J'ai toujours voulu transmettre à mes collaborateurs ma passion pour le développement de produits de qualité", déclare Angelo Gotti, fondateur et PDG de Kask, "En fait, je crois que les personnes qui travaillent dans la sphère KASK sont elles-mêmes le point fort du succès de l'entreprise : non seulement les 170 hommes et femmes qui travaillent dans nos trois filiales, mais aussi les partenaires, des fournisseurs aux clients, qui contribuent chaque jour au positionnement international de la marque, au point qu'elle est devenue un point de référence sur les différents marchés".  Kask travaille étroitement avec Ineos-Grenadiers pour développer ses nouveaux casques pour le vélo et d'autres athlètes pour l'équitation et le ski. Crédit Frédéric "Vingt ans, c'est une étape importante qui nous amène à dresser un bilan non seulement en termes de chiffres, mais aussi à analyser les résultats obtenus d'un point de vue qualitatif", ajoute Diego Zambon, directeur général de Kask, "Kask a un grand potentiel qui peut être développé dans des projets plus importants, et nous pensons que nous pourrons encore surprendre par ce que nous pouvons réaliser". Contact : Kask Read the full article

[clottte]

2022 _ PROJET SCENO Parfois une ligne peut faire beaucoup. Ici, dans le cadre de la convention @opticiens_krys et de l’exposition de sa dernière collaboration avec @lecoqsportif , nous nous sommes inspirés de la ligne du toit de l’usine de la marque située à Romilly-sur-Seine. 🏭 Un stand de 50m2 qui reprend les codes très graphiques de l’architecture industrielle. Les zones colorées, elles, accentuent les points d’interêts particuliers de l’espace pour un ensemble bleu, blanc, rouge ; encore un clin d’oeil à la marque de sport, made in France. 🇫🇷 🐓 . Merci à @julieparade pour la collab 🤝 @alexis.klein_ pour la DA et le graphisme 🔵 @lab.productions_ pour la construction 🪚 . . . #lecoqsportif #krys #bleu #blanc #rouge #stand #design #setdesign #scenographie (à Paris, France) https://www.instagram.com/p/Cn1WBKcr9i2/?igshid=NGJjMDIxMWI=

[nedgis]

Maison & Objet 2024 : décryptage des tendances déco et luminaires design par Nedgis !

Le thème “Tech Eden” : fusion entre la nature et la technologie Le thème clé choisi pour Maison & Objet 2024, “Tech Eden“, incarne parfaitement la symbiose entre la nature et la technologie. Il s’agit de réinventer les éléments naturels pour les intégrer harmonieusement dans notre quotidien, tout en privilégiant le développement durable et le bien-être. Cette approche novatrice a donné lieu à…

[motorbuzz]

All-electric Rolls-Royce Spectre undergoing second testing phase on the French Riviera

Over the past months, the marque’s test and development engineers have shifted their focus from the extreme conditions of Arjeplog, Sweden, to more formal scrutiny in a location that reflects the Spectre's everyday use: the French Riviera.

- Rolls-Royce continues 2.5 million km testing programme for first electric product, Spectre - 625,000 km testing phase in French Riviera region of southern France - Spectre tested at Autodrome de Miramas facility and on Côte d’Azur roads - Unprecedented processing speeds leveraged for new standard in ride - Proprietary smart suspension system confirmed for production - Developments in marque’s architecture make Spectre stiffest Rolls-Royce ever - 30% increase in rigidity enabled by integrating battery pack into structure - New drag coefficient of 0.25 makes Spectre most aerodynamic Rolls-Royce yet - Spectre development now approximately 40% complete “It is no exaggeration to state that Spectre is the most anticipated Rolls-Royce ever. Free from the restrictions connected to the internal combustion engine, our battery-electric vehicle will offer the purest expression of the Rolls-Royce experience in the marque’s 118-year history. This latest testing phase proves a suite of advanced technologies that underpin a symbolic shift for Rolls-Royce as it progresses towards a bright, bold, all-electric future. This will secure the ongoing relevance of our brand for generations to come.” Torsten Müller-Ötvös, Chief Executive Officer, Rolls-Royce Motor Cars “Spectre unlocks the extraordinary potential of integrating a fully electric powertrain into our Architecture of Luxury platform. From this engineering starting point, our testing and refinement processes combine empirical data and human experience, intuition and insights acquired over more than a century to refine the motor car’s driving dynamics and character. In coordinating this orchestra of systems with precisely defined responses to driver inputs and road conditions, made possible by the latest software and hardware developments, Spectre delivers the Rolls-Royce experience in exceptionally high definition.” Dr. Mihiar Ayoubi, Director of Engineering, Rolls-Royce Motor Car ROLLS-ROYCE SPECTRE: BACKGROUND Whilst Rolls-Royce has built a reputation for creating the pinnacle of super-luxury motor cars using internal combustion engines, the concept of electrification is long familiar to the brand. Henry Royce began his working life as an electrical engineer and dedicated much of his career to creating internal combustion engines that simulated the characteristics of an electric car – silent running, instant torque and the sensation of one endless gear. Yet the connection with the marque’s founders is far deeper. When Charles Rolls drove a 1900 electric car named the Columbia, he made a prophecy: “The electric car is perfectly noiseless and clean. There is no smell or vibration. They should become very useful when fixed charging stations can be arranged.” Spectre is the fulfilment of this prophecy. Spectre also represents a promise kept. In 2011, Rolls-Royce showcased a fully electric Experimental Phantom concept named 102EX. This was followed by 103EX, a dramatic design study that anticipated a bold electric future for the marque. These experimental cars prompted significant interest from Rolls-Royce clients, who felt that the characteristics of an electric powertrain would fit perfectly with the brand. Rolls-Royce Chief Executive Officer, Torsten Müller-Ötvös, responded to this with a clear promise: Rolls-Royce will go electric, starting this decade, and by 2030 Rolls-Royce will be a fully electric motor car brand. In September 2021, Rolls-Royce confirmed that it had commenced testing of the first all-electric Rolls-Royce, Spectre. To ensure Spectre is first and foremost a Rolls-Royce, it will undergo the most demanding testing programme ever conceived by the marque, spanning 2.5 million kilometres, simulating on average more than 400 years of use for a Rolls-Royce. It is an extraordinary undertaking. ROLLS-ROYCE SPECTRE: RIVIERA TESTING Earlier this year, at a bespoke testing facility in Arjeplog, Sweden – just 55 kilometres from the Arctic Circle – Spectre received the first ‘lessons’ in a finishing school that is custom designed to teach the motor car how to behave and react like a Rolls-Royce. Over the past months, the marque’s test and development engineers have shifted their focus from extreme conditions to more formal scrutiny in a location that reflects the motor car’s everyday use: the French Riviera. In evoking its spiritual successor, the Phantom Coupé, this Electric Super Coupé will be the first all-electric super-luxury motor car with continental touring central to its proposition. The French Riviera and its roads present a perfect combination of the types of conditions that will be demanded from Spectre’s clients, ranging from technical coastal corniches to faster inland carriageways. Forming a crucial part of Spectre's 2.5 million kilometre global testing programme, a total of 625,000 kilometres will be driven on and around the French Côte d’Azur. This phase is split into two parts, beginning at the historic Autodrome de Miramas proving ground, located in the French department of Bouches-du-Rhône in Provence. Once a circuit that played host to the 1926 Grand Prix, the site is now a state-of-the-art test and development facility, incorporating more than 60 kilometres of closed routes and 20 test track environments that provide a vast number of testing opportunities over its 1,198 acre footprint. These include irrigation units that create standing water, demanding handling circuits with tight corners and adverse cambers, as well as a heavily banked 3.1 mile three-lane high-speed bowl, enabling Spectre to be tested at continuous high speeds. The second phase of testing in the region occurs in the Provençal countryside surrounding the Autodrome de Miramas. This region is enjoyed by many of the marque’s clients, therefore a significant 55% of testing here has taken place on the very roads that many production Spectres will be driven on following first customer deliveries in the fourth quarter of 2023. This provision for testing under local, real-life conditions is repeated in key markets around the world, as the marque goes to painstaking lengths to ensure that its products meet – and so often exceed – the expectations of its highly discerning customer group. ROLLS-ROYCE SPECTRE: A BESPOKE ELECTRONIC ARCHITECTURE Spectre is unlike any Rolls-Royce before it. This is not only because of its fully electric powertrain, but also its unprecedented computing power and application of advanced data-processing technologies. Spectre is the most connected Rolls-Royce ever and each of its components are more intelligent than in any previous Rolls-Royce. It features 141,200 sender-receiver relations and has more than 1,000 functions and more than 25,000 sub functions. This is around three times more sender-receiver signals than a typical Rolls-Royce. The dramatically increased intelligence of Spectre’s electronic and electric powertrain architecture enables a free and direct exchange of detailed information between these functions with minimal centralised processing. To unlock the potential of this technology, Rolls-Royce software engineering specialists developed a decentralised intelligence for Spectre. This is based on data being processed closer to its source rather than being handled in its entirety by a single central processing unit. By sending more sophisticated data packets – that not only describe a variable but propose a response – the motor car’s reaction time is significantly faster and more detailed. This advanced technology sees much of the development of Spectre pivot from the workshop into the digital space. Yet developing Spectre is not an exercise in computer science alone. The motor car requires a response to hundreds of thousands of possible scenarios, and therefore it needs the most skilled and experienced specialists to define and finesse an appropriate mechanical reaction. Over the course of the Riviera Testing Programme, the marque’s most experienced engineers are painstakingly creating a dedicated control for each of Spectre’s 25,000-plus functions, incorporating variations of response depending on factors including weather, driver behaviour, vehicle status and road conditions. In harnessing this new processing power, the marque’s engineers are creating unparalleled levels of detail, refinement and effortlessness for Spectre whilst ensuring continuity in the experience of Rolls-Royce’s internal combustion engine motor cars. These highly experienced specialists describe the result as “Rolls-Royce in high definition”. ROLLS-ROYCE SPECTRE: ‘MAGIC CARPET RIDE’ IN HIGH DEFINITION Following months of continual testing, a new suspension technology has been approved that ensures Spectre delivers Rolls-Royce’s hallmark ‘magic carpet ride’. This technology is now being refined and perfected at Miramas and on the roads of the French Riviera. Using a suite of new hardware components and leveraging Spectre’s high-speed processing capabilities, this sophisticated electronic roll stabilisation system uses data from the motor car’s Flagbearer system, which reads the road surface ahead, and satellite navigation system, which alerts Spectre to upcoming corners. On straight roads, the system can automatically decouple Spectre’s anti-roll bars, allowing each wheel to act independently. This prevents the rocking motion that occurs when one side of a vehicle hits an undulation in the road. This also dramatically improves high-frequency imperfections in ride caused by smaller, more frequent shortcomings in road surface quality. Once a corner is confirmed as imminent by satellite navigation data and the Flagbearer system, the components are recoupled, the suspension dampers stiffen and the four-wheel steering system prepares for activation to ensure effortless entry and exit. Under cornering, more than 18 sensors are monitored, and steering, braking, power delivery and suspension parameters are adjusted accordingly so that Spectre remains stable. For the driver, this delivers serenity, predictability and, ultimately, greater control in unprecedented high definition. ROLLS-ROYCE SPECTRE: INTELLIGENT ARCHITECTURE PROVIDES UNPARALLELED RIGIDITY The unparalleled control of such a generously proportioned motor car that is provided by this new technology is enabled by the marque’s all-aluminium spaceframe architecture. Not only has this platform, which is reserved for the brand’s exclusive use, enabled designers to create a new class of Rolls-Royce – the Electric Super Coupé – but it has also provided Spectre with the most rigid body in the marque’s history. Spectre’s aluminium architecture is reinforced with steel sections that provide exceptional torsional rigidity. This is combined with aluminium body sections that represent the largest of any Rolls-Royce yet. The one-piece side panel, which extends from the front of the A-pillar to behind the rear tail-lights, is the largest ‘deep draw’ part ever produced by Rolls-Royce – extending nearly four metres in length. Likewise, the pillarless coach doors, which are nearly 1.5 metres in length, are the longest in Rolls-Royce history. Spectre’s exceptional rigidity, which represents a 30% improvement over all existing Rolls-Royce motor cars, has also been achieved by integrating the extremely rigid structure of the battery itself into Spectre’s aluminium spaceframe architecture. Only through the marque’s architecture has this been made possible. ROLLS-ROYCE SPECTRE: A NEW AERODYNAMIC STANDARD In announcing the redesigned Spirit of Ecstasy mascot that will sit proudly at the prow of Spectre, Rolls-Royce aerodynamicists predicted that the motor car would have a drag coefficient (cd) of just 0.26, making it the most aerodynamic Rolls-Royce ever created. The dramatic design of this landmark motor car, which itself is only possible using the marque’s spaceframe architecture, has enabled engineers to further improve on this landmark figure. Following rigorous wind tunnel testing, digital modelling and continuous high-speed testing in Miramas, this figure has been further reduced to just 0.25. This does not just represent a record in the context of Rolls-Royce, but is unprecedented in the luxury sector. ROLLS-ROYCE SPECTRE: THE EXTRAORDINARY UNDERTAKING CONTINUES The Spectre global testing programme continues: the Electric Super Coupé will still be tested for a further one million kilometres before the marque’s engineers will consider this undertaking complete. First customer deliveries of Spectre will commence in the fourth quarter of 2023. Read the full article

[liamm-rennes-blog]

© Liamm

Féli | linen hanbag

[pwlanier]

Ex Nicolas Cage. 1954 Bugatti Type 101C Coupé
Coachwork by Antem. Chassis no. 101 504-Engine no. 101 504.

PARIS.- The stunning ex-Nicolas Cage 1954 Bugatti 101 is incredibly rare. One of only six 101s built, and the only one featuring this particular Antem designed coachwork, it’s one of the most anticipated lots at Bonhams upcoming Chantilly Sale, taking place in France on 5 September.

It’s believed that Cage purchased the Bugatti around the time he starred in the film, Gone in Sixty Seconds. Also featuring Angelina Jolie, the film was a cinematic homage to the allure of rare and beautiful motor cars.

As life imitates art, Cage, like his character, also has a passion for rare and beautiful motor cars, the Bugatti 101 the perfect example.

In 1951 it was announced that the Bugatti factory intended to produce just 50 cars for delivery in July 1952. In the event, Bugatti's other interests took precedence over the revived road car project and only six Type 101s were completed, making it one of the marques rarest models.

Following its completion at Antem's Courbevoie works, '101504' was first registered on 19th May 1954 as '572 BS 67', the Carte Grise being issued in Strasbourg to 'Usines Bugatti'. The car's original colour scheme was green with beige leather interior. It is understood that '101504' was used and most likely owned, by the French industrialist René Bolloré, who in 1951 had married Ettore Bugatti's second wife, Genevieve Delcuze. In the spring of 1959, the car, now painted black, passed to the well-known Bugatti dealer Jean de Dobbeleer of Brussels, who registered it in Belgium. This car is pictured in 'The Bugattis of Jean de Dobbeleer' by Charles Fawcett (copy extracts on file).

In July 1959 de Dobbeleer sold the car to his USA agent, Gene Cesari, who registered it with his personal number, 'GSC 1'. A man with extensive knowledge of Bugattis of all types, Cesari covered a considerable mileage in '101504', which he had first seen at the Molsheim factory, and pronounced the Type 101 a worthy successor to the Type 57, with a smoother and more responsive engine, better handling and lighter steering. Within a couple of years Cesari had sold '101504' to Robert Stanley of New Jersey from whom it soon passed to E Allen Henderson and thence in November 1964 to the Harrah Collection in Reno, Nevada. Bill Harrah died in June 1978 and subsequently many cars from his 1,500-strong collection were sold, including 17 Bugattis.

‘101504' next resurfaces in September 1985 when it was sold to Jacques Harguindeguy of Walnut Creek, California. British classic car dealer Nick Harley was its next owner, registering the Bugatti in the UK with the number 'GV 5601'. The car was next acquired by the American actor, Nicholas Cage of Carmichael, California and in 2003 passed to Gene Ponder of Texas. When, four years later, Ponder offered his collection for sale, the Type 101 was purchased by fellow Texan collector, John O'Quinn. Following O'Quinn's untimely death in 2009, the Bugatti was acquired by its current, Belgium-based owner. The car is currently registered in Belgium and comes with Carte Grise and Contrôle Technique. It also comes with a history file containing copies of records held by the National Automobile Museum (The Harrah Collection); a copy of the State of California Certificate of Title in the name of Nicholas Cage; and a detailed report compiled by the British independent Bugatti consultant, David Sewell. Unlike many pre-war Bugattis, '101504' has enjoyed a relatively sheltered life, mostly in the hands of wealthy American collectors, and to date has covered fewer than 14,000 kilometres. Apart from a change of colour scheme from green to black/red, and an interior re-trim in matching leather, the car remains in remarkably original condition throughout. To quote David Sewell: 'This is a truly unique Bugatti; moreover, it is one of only a handful of its type made and unquestionably the most attractive of them.'

Courtesy Alain Truong

[omagazineparis]

Ces nouvelles boutiques parisiennes à découvrir d’urgence !

Ah Paris… La capitale de la mode et du shopping par excellence. Si vous vouez une véritable addiction au shopping et que vous adorez passer des heures à dénicher LA boutique parfaite, vous êtes au bon endroit ! La rédaction vous a concocté une liste de nouvelles boutiques parisiennes à découvrir absolument. La Samaritaine, une ode au luxe et à la France Vous n’avez pas pu passer à côté de cette information ! Après plus de seize ans de travaux, l’iconique magasin parisien a rouvert ses portes. Avec ses 20 000 mètres carrés d’espace de vente, la Samaritaine est un véritable temple du luxe et de la mode. Ce bâtiment Art Nouveau, symbole parisien depuis plus d’un siècle et demi tourne son regard vers l’avenir. Ce nouveau magasin se met à la pointe des tendances pour redevenir LE lieu parisien incontournable. Allez-vous opter pour une séance de shopping no limit au sein des 600 marques présentes ?  La Samaritaine – 19 rue de la Monnaie – 75001 Paris Neuvième Ciel, la mode pour les mamans, et pas que ! C’est tout récemment que la start-up Neuvième Ciel, qui proposait uniquement de la vente en ligne, a ouvert sa boutique. Située en plein cœur du quartier des Batignolles, la boutique vous permet de découvrir les pièces iconiques Neuvième Ciel mais également Candice, la créatrice emblématique et son armée de petites mains. Son leitmotiv ? Sublimer la femme enceinte. Ajoutant à cela son envie de produire 100% Made In France et de manière responsable, c’est l’endroit parfait si vous attendez un heureux évènement ou même pour faire un cadeau à une amie ! Entre la robe Sénanque et la tunique Pamela, pour quel modèle allez-vous craquer ? Boutique Neuvième Ciel – 53 rue Legendre – 75017 Paris La Milibootik, véritable temple du design En juin dernier, Miliboo ouvre un troisième concept store en plein cœur de la capitale. Cette boutique, située Rue de Rivoli, offre une expérience client unique basée sur la digitalisation. En effet, par le biais de bornes digitales situées dans la surface de vente, il est désormais possible de découvrir l’ensemble des références Miliboo ainsi que de les commander. Organisée sur deux étages, la boutique offre des ambiances éclectiques à ses visiteurs. Au rez-de-chaussée, un mélange de mobilier tendance et design sera présenté tandis qu’à l’étage, des pièces de vie seront repensées. Si vous avez envie de craquer pour une pièce design forte, foncez chez Miliboo ! Concept Store Miliboo – 83 bis Rue de Rivoli – 75001 Paris Clarins Marais, un espace avant-gardiste et responsable Dès l’entrée de la boutique, vous serez transporté dans une quête ludique et sensorielle. Vous pourrez découvrir de nombreuses expériences inédites telles que le test digital du Toucher Professionnel Clarins, l’Atelier de la peau ou encore le Marché Beauté Voyage. Soucieuse de ses engagements, la marque Clarins a conçu la boutique dans une démarche responsable et écologique. Vous laisserez-vous tenter par une expérience shopping inédite ? Boutique Clarins Marais – 45 Rue Vieille du Temple – 75004 Paris Vous connaissez désormais les nouvelles adresses parisiennes pour organiser un week-end shopping. N’hésitez pas à nous faire part de vos adresses coups de cœur et de vos spots cachés, nous serions ravies d’y faire un petit saut ! À lire aussi : Comment ne plus rater le livreur ? Read the full article

[dimensionsvelo]

Kask fête ses 20 ans, le bel âge !

Kask a été créée 2004 par Angelo Gotti et si la marque s'illustre dans le cyclisme depuis ses débuts, elle est aussi présente dans d'autres secteurs d'activités. Avec toujours comme objectif de protéger dans le confort, la performance et l'esthétique ! Lorsqu'Angelo Gotti a créé sa marque, il ne se doutait pas que ses casques auraient cette réussite. Dès 2006, les premiers Kask sont chez Sky en World Tour. En 2008 la marque se lance dans la sécurité au travail. En 2009 c'est dans le domaine du ski alpin que l'on retrouve Kask, et enfin l'équitation complète l'offre en 2015. Pendant ce temps le palmarès sportif (et cycliste) de la marque s'enrichit avec 7 victoires au Tour de France, 3 au Giro d'Italia et 2 à la Vuelta A Espana. Des succès qui démontrent le confort, la performance et la qualité de ses produits. Chris Froome a porté haut les couleurs de Kask avec ses 4 Tours de France , ses 2 Vuelta et son Giro ! Crédit Frédéric Iehl La marque a déposé également plus de 20 brevets, et remporté de nombreux prix internationaux. Kask place la protection de la personne au premier plan, comme en témoigne son test interne WG 11, mais conserve à l'esprit qu'il faut aussi préserver le confort, l'esthétique, la performance et le design ! Bombe d'équitation. Crédit Kask Casque de ski. Crédit Kask Ou de chantier, l'activité de Kask est éclectique ! Crédit Kask Kask ce sont désormais 170 employés, 3 filiales, des produits toujours Made in Italy et une distribution dans plus de 80 pays, avec une filiale aux États-Unis (2010) et en Australie (2014). Et si le logo a changé avec le temps, sa couleur vert lime inimitable est toujours d'actualité. La marque de Chiuduno, dans la province de Bergame commercialise ainsi désormais plus d'1 millions de casques par an. Les 20 ans de Kask seront célébrés les 29 et 30 juin à Daste Bergamo avec nombreuses activités sportives, des conférences, une exposition des casques qui ont le plus marqué l'histoire de Kask et un pop-up store.  Les réactions J'ai toujours voulu transmettre à mes collaborateurs ma passion pour le développement de produits de qualité", déclare Angelo Gotti, fondateur et PDG de Kask, "En fait, je crois que les personnes qui travaillent dans la sphère KASK sont elles-mêmes le point fort du succès de l'entreprise : non seulement les 170 hommes et femmes qui travaillent dans nos trois filiales, mais aussi les partenaires, des fournisseurs aux clients, qui contribuent chaque jour au positionnement international de la marque, au point qu'elle est devenue un point de référence sur les différents marchés".  Kask travaille étroitement avec Ineos-Grenadiers pour développer ses nouveaux casques pour le vélo et d'autres athlètes pour l'équitation et le ski. Crédit Frédéric "Vingt ans, c'est une étape importante qui nous amène à dresser un bilan non seulement en termes de chiffres, mais aussi à analyser les résultats obtenus d'un point de vue qualitatif", ajoute Diego Zambon, directeur général de Kask, "Kask a un grand potentiel qui peut être développé dans des projets plus importants, et nous pensons que nous pourrons encore surprendre par ce que nous pouvons réaliser". Contact : Kask Read the full article

[hurricanewindattack]

Three Eras, Three Masterpieces.

Bugatti has been a storied marque that’s had a troubled history over the 100+ years it has existed for. Yet across that troubled history, there is one thing it has retained - absolute quality. Three carmakers over the years have used the name:

The Bugatti of Ettore: This is the original. Ettore Bugatti, coming from a very well-off family with artistic talent in its veins, founded it in 1909 in France. From the very start, the cars were very design focused, with engines being hand-built to such accuracy that they did not need head-gaskets. Every element of the car, inside to outside, was built like an art piece in its own right. But the biggest achievement of the first Bugatti was in the world of racing. This car, the Type 35, was a multi-purpose race car that won endurance races, rallies, and Grand Prix races, the precursor to F1. At its peak, it was averaging over 14 race wins every week, making it the most successful racing car ever built. The coolest part? Several women like Helle Nice and Eliska Junkova would use this very car to win races across Europe. Unfortunately, the whole operation went up in smoke after the second world war. The French government seized the factory, assuming him to have conspired with Fascist Italy given his Italian ancestry. While he eventually won it back, the shock of this happening to him caused his health to fail, and he passed away in 1947. With no clear successor, since his equally prodigal son had already died in an accident 9 years ago, the company limped on for another 5 years before collapsing.

The Bugatti of Romano: Romano Artioli had made his fortune in the eighties importing all manner of cars to Italy, and running a gigantic Ferrari dealership. His passion for the original Bugatti though is why the people in his life encouraged him to buy the rights to the name and resurrect the storied marque. They built the most magnificent factory in Campogalliano, Modena, for their base of operations. The floor was tiled with the best marble, the factory let in natural light and the assembly line was clean as a surgery table. The theory went that if the workers were happy, their work would be top-notch. And boy, it was top-notch. After nearly half a decade of R&D, the company launched its first - and only - production model, the EB110, named to celebrate what would’ve been Ettore’s 110th birthday. The car was the first in the world with not one, not two, but FOUR turbochargers - in the early nineties no less! Michael Schumacher bought one of these in yellow. Sadly, that was as far as the company was to go. There are a variety of reasons for why the company went bust - the car was way too expensive for its time at half a million dollars, a recession was on its way, the McLaren F1 was even better, and the company had spent way too lavishly for what was still a start-up with limited brand value. The factory still stands to this day, in a sort of derelict post-apocalyptic state with weeds growing out of the marble. A few people, who were attached to the original company, still guard and maintain it to the best of their abilities, and they organise tours! Europeans, go check it out, I bet it’ll be worth your time.

The Bugatti of Piëch: Not long after the second Bugatti collapsed, Ferdinand  Piëch, grand-daddy of the Volkswagen group, urged his company to snap it up. They would not use Romano’s factory however, and decided to move production back to what they called an Atelier (French for workshop) in Molsheim, where Ettore used to have the cars built. They then spent the next three years rolling out various concepts to motor shows around the world. Most of these would use a gargantuan eighteen-cylinder aircraft-like engine in a W configuration. Eventually though, they settled on the eight-litre W-16, which has only sixteen cylinders. Your daily driver has four. They declared that it would be called the Veyron, after the man who served the original Bugatti as an engineer, test driver and racing driver, giving them victory at the 1939 Le Mans. But then it would take another half a decade to fully develop the car. Once it was out though, it easily became the fastest car in the world, with a full thousand horsepower and a top speed of over four hundred kilometres an hour. Yet it was so well-behaved that you can use it as a daily-driver. It also became the most expensive car at the world at the time, with each costing over a million dollars a piece. Ironically, the development process of the car had been so intensive that the VW group still lost millions on each car built, making it more of a technical demonstration than a profitable product. Regardless, it successfully started the era of Hypercars, one in which its successor, the Chiron, now competes.

[silent-era-of-cinema]

Theda Bara (born Theodosia Burr Goodman; July 29, 1885 – April 7, 1955) was an American silent film and stage actress.

Bara was one of the more popular actresses of the silent era and one of cinema's early sex symbols. Her femme fatale roles earned her the nickname "The Vamp" (short for vampire),[a] later fueling the rising popularity in "vamp" roles that encapsulated exoticism and sexual domination. Bara made more than 40 films between 1914 and 1926, but most were lost in the 1937 Fox vault fire. After her marriage to Charles Brabin in 1921, she made two more feature films and then retired from acting in 1926, never appearing in a sound film.

Bara was born Theodosia Burr Goodman on July 29, 1885 in the Avondale section of Cincinnati, Ohio. She was named after the daughter of US Vice President Aaron Burr. Her father was Bernard Goodman (1853–1936), a prosperous Jewish tailor born in Poland. Her mother, Pauline Louise Françoise (née de Coppett; 1861–1957), was born in Switzerland. Bernard and Pauline married in 1882. Theda had two younger siblings: Marque (1888–1954) and Esther (1897–1965), who also became a film actress under the name of Lori Bara.

Bara attended Walnut Hills High School, graduating in 1903. After attending the University of Cincinnati for two years, she worked mainly in local theater productions, but did explore other projects. After moving to New York City in 1908, she made her Broadway debut the same year in The Devil.

Most of Bara's early films were shot along the East Coast, where the film industry was centered at that time, primarily at the Fox Studios in Fort Lee, New Jersey.

Bara lived with her family in New York City during this time. The rise of Hollywood as the center of the American film industry forced her to relocate to Los Angeles to film the epic Cleopatra (1917), which became one of Bara's biggest hits. No known prints of Cleopatra exist today, but numerous photographs of Bara in costume as the Queen of the Nile have survived.

Between 1915 and 1919, Bara was Fox studio's biggest star; but, tired of being typecast as a vamp, she allowed her five-year contract with Fox to expire. Her final Fox film was The Lure of Ambition (1919). In 1920, she turned briefly to the stage, appearing on Broadway in The Blue Flame. Bara's fame drew large crowds to the theater, but her acting was savaged by critics.

Her career suffered without Fox studio's support, and she did not make another film until The Unchastened Woman (1925) for Chadwick Pictures. Bara retired after making only one more film, the short comedy Madame Mystery (1926), made for Hal Roach and directed by Stan Laurel, in which she parodied her vamp image.

At the height of her fame, Bara earned $4,000 per week (the equivalent of over $56,000 per week in 2017 adjusted dollars). Bara's better-known roles were as the "vamp", although she attempted to avoid typecasting by playing wholesome heroines in films such as Under Two Flags and Her Double Life. She appeared as Juliet in a version of Shakespeare's Romeo and Juliet. Although Bara took her craft seriously, she was too successful as an exotic "wanton woman" to develop a more versatile career.

The origin of Bara's stage name is disputed; The Guinness Book of Movie Facts and Feats says it came from director Frank Powell, who learned Theda had a relative named Barranger, and that Theda was a childhood nickname. In promoting the 1917 film Cleopatra, Fox Studio publicists noted that the name was an anagram of Arab death, and her press agents, to enhance her exotic appeal to moviegoers, falsely promoted the young Ohio native as "the daughter of an Arab sheik and a French woman, born in the Sahara." In 1917, the Goodman family legally changed its surname to Bara.

Bara was known for wearing very revealing costumes in her films. Such outfits were banned from Hollywood films after the Production Code (a.k.a. the Hays Code) started in 1930, and then was more strongly enforced in 1934. It was popular at that time to promote an actress as mysterious, with an exotic background. The studios promoted Bara with a massive publicity campaign, billing her as the Egyptian-born daughter of a French actress and an Italian sculptor. They claimed she had spent her early years in the Sahara desert under the shadow of the Sphinx, then moved to France to become a stage actress. (In fact, Bara never had been to Egypt, and her time in France amounted to just a few months.) They called her the "Serpent of the Nile" and encouraged her to discuss mysticism and the occult in interviews. Some film historians point to this as the birth of two Hollywood phenomena: the studio publicity department and the press agent (later evolving into the public relations person).

A 2016 book by Joan Craig with Beverly F. Stout chronicles many personal, first-hand accounts of the lives of Theda Bara and Charles Brabin. It reveals a great dichotomy between Theda Bara's screen persona and her real-life persona. Included are Bara's surprised responses to the critical reactions to her screen portrayals from a sector of the community. The author was befriended by Theda Bara and Charles Brabin beginning when she was a young girl. Craig's photographic-like memory paints an important picture of how they lived, where they lived, and what they said and did, even to the point of describing in great detail most of the rooms of their house. The book describes how Bara, who learned pattern making and wig making from her mother and father, designed and created most of the costumes and gowns she wore in her films, including the striking costumes she wore in Cleopatra.

Bara married British-born American film director Charles Brabin in 1921. They honeymooned at The Pines Hotel in Digby, Nova Scotia, Canada, and later purchased a 400-hectare (990-acre) property down the coast from Digby at Harbourville, Nova Scotia, overlooking the Bay of Fundy, eventually building a summer home they called Baranook.[15] They had no children. Bara resided in a villa-style home in Cincinnati, which served as the "honors villa" at Xavier University. Demolition of the home began in July 2011.

In 1936, she appeared on Lux Radio Theatre during a broadcast version of The Thin Man with William Powell and Myrna Loy. She did not appear in the play but instead announced her plans to make a movie comeback, which never materialized. She appeared on radio again in 1939 as a guest on Texaco Star Theatre.

In 1949, producer Buddy DeSylva and Columbia Pictures expressed interest in making a movie of Bara's life to star Betty Hutton, but the project never materialized.

On April 7, 1955, after a lengthy stay at California Lutheran Hospital in Los Angeles, Bara died there of stomach cancer. She was survived by her husband Charles Brabin, her mother, and sister Lori. She was interred as Theda Bara Brabin at Forest Lawn Memorial Park Cemetery in Glendale, California.

Bara often is cited as the first sex symbol of the film era.

For her contributions to the film industry, Bara received a motion pictures star on the Hollywood Walk of Fame in 1960. Her star is located at 6307 Hollywood Boulevard.

Bara never appeared in a sound film, lost or otherwise. A 1937 fire at Fox's nitrate film storage vaults in New Jersey destroyed most of that studio's silent films. Bara made more than 40 films between 1914 and 1926, but complete prints of only six still exist: The Stain (1914), A Fool There Was (1915), East Lynne (1916), The Unchastened Woman (1925), and two short comedies for Hal Roach.

In addition to these, a few of her films remain in fragments, including Cleopatra (just a few seconds of footage), a clip thought to be from The Soul of Buddha, and a few other unidentified clips featured in the documentary Theda Bara et William Fox (2001). Most of the clips can be seen in the documentary The Woman with the Hungry Eyes (2006). As to vamping, critics stated that her portrayal of calculating, cold-hearted women was morally instructive to men. Bara responded by saying "I will continue doing vampires as long as people sin." Additional footage has been found which shows her behind the scenes on a picture. While the hairstyle has led some to theorize that this may be from The Lure of Ambition, this has not been confirmed.

In 1994, she was honored with her image on a U.S. postage stamp designed by caricaturist Al Hirschfeld. The Fort Lee Film Commission dedicated Main Street and Linwood Avenue in Fort Lee, New Jersey as "Theda Bara Way" in May 2006 to honor Bara, who made many of her films at the Fox Studio on Linwood and Main.

Over a period of several years, filmmaker and film historian Phillip Dye reconstructed Cleopatra on video. Titled Lost Cleopatra, the full-length feature was created by editing together production-still picture montages combined with the surviving film clip. The script was based on the original scenario with modifications derived from research into censorship reports, reviews of the film, and synopses from period magazines. Dye screened the film at the Hollywood Heritage Museum on February 8, 2017.